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Playwright: Finegan Kruckemeyer Director: Catarina Hebbard Venue: QUT, The Loft Theatre In a world where the climate crisis is no longer a looming threat but a pressing reality, Finegan Kruckemeyer's ‘Hibernation’ is a breath of fresh air— ironically, one we might need if the play’s harrowing scenario were to unfold! Directed by Catarina Hebbard, this play melds science fiction with intimate human drama. Kruckemeyer's writing manages to convey powerful messages about climate change without being preachy. Instead, it weaves its environmental message through personal stories and even some humour to balance the heavy subject matter. The talented cast of QUT BFA Acting grads, supported by various QUT departments, brings this captivating story to life over three compelling acts. The first act, set in 2030, imagines a future on the verge of environmental collapse. In a desperate act, world leaders decide to use a gas to put the entire human population into a year-long sleep to give the Earth a chance to heal. Sounds peaceful, right? But it stirs up some tough debates and chilling consequences. In the second act, we follow Pete and Maggie, two characters who don't go into hibernation, for reasons revealed during the play. Their journey from isolation to finding comfort in each other is incredibly touching, emphasising how important personal connections are during tough times. Rad Valance and Madeleine Wilson deliver pure and heartfelt performances as these star-crossed strangers. The final act delves into the long-term effects of the hibernation experiment from months to years later, prompting the audience to reflect on the consequences of our actions. As characters awaken, the play explores the complexities of human nature and societal behaviour. Huda Akhlaki, as Cassandra, delivers a powerful monologue on post-hibernation discoveries—dairy cows dying, fish populations thriving, dogs becoming dominant, and coral reefs rejuvenating, as people grow fearful, distrustful, and hoard resources. Sound familiar? Akhlaki's ability to convey a sense of wonder and sorrow makes her performance particularly memorable. Visuals and Design The tech aspects of 'Hibernation' stand out for their imaginative and immersive qualities, with set design by Alexandra MacDonald creating multiple private and global environments with just a few versatile pieces. Costumes by Hayley Woodward ground the dystopian future in a believable reality. The atmospheric music throughout ‘Hibernation’ resembles the soundtracks of nature documentaries, creating an immersive soundscape that evolves with the narrative. Initially soothing, the music becomes increasingly harrowing as the story progresses. The creative team makes exceptional use of the space, with actors utilising every area of the stage. The projections at the back allow some actors to appear both on stage and on screen, showcasing their versatility in performing for both mediums simultaneously. Performances The cast delivers uniformly wonderful performances. Keeley Hay’s portrayal of Emily is a standout, infusing the character with a fierce determination and justified indignation. Hay's ability to convey a wide range of emotions —from egotistic, frustrated, disheartened, and inspirational — makes Emily the most complex figure in my eyes. Her unforgiving ‘hell hath no fury like a woman scorned’ energy in Act 3 is particularly unforgettable. Rue Dallen as Suzanne appears both vulnerable and strong, connecting with the audience on a personal level through an intensely captivating performance (despite her character being a politician). Aristene Kisando brings quiet strength to Chidera, reflecting on the hibernation’s impact on diverse communities and cultures. Josh Nicholls' interpretation of Mark adds yet another layer of complexity to the story, through the examination of ethical dilemmas regarding autonomy and consent. His interactions with the lead characters are always authentic, regardless of the tone required for whichever character he is embodying at the time. Chelsea Doran's portrayal of the child offers an innocent yet profound perspective on the situation, symbolically setting up dominos on stage to reflect the play's themes of cause and effect. Madeleine Wilson delivers a moving performance as Maggie, showcasing a delicate balance of heart-warming and heart-wrenching moments. Her powerful monologue in Act 2 is raw and vulnerable, leaving the audience on the edge of their seats as we entered the intermission (and perhaps feeling a bit sickened). Rad Valance brings naturalistic charm to Pete, providing some comic relief and a believable compassion but caution towards Maggie. Together, they paint a vivid picture of an alien yet familiar world, using evocative descriptions of nature reclaiming Brisbane. Impact 'Hibernation' is a culturally relevant blend of speculative fiction and intimate drama, drawing unmistakeable parallels to the COVID lockdowns. It can be compared to works like 'Don't Look Up' (film) and 'Station Eleven' (novel), exploring themes of existential threat and human resilience. The creative synergy between the cast and crew results in a visually enlightening and intellectually stimulating experience that concludes the story with everything falling into place like dominos. Now playing until 1st June, 2024 Tickets Available Here

A Hilarious Journey into the Chaotic World of Theatre Centenary Theatre Group's rendition of Michael Frayn's "Noises Off" offers a wild ride behind the scenes of a troubled stage production, featuring a motley crew of unstable actors, a hot-tempered director, and an overwhelmed stage crew. As the characters struggle to stage the tacky comedy titled 'Nothing On,' the boundaries between their on-stage roles and off-stage lives blur. Divided into three acts, the production guides the audience from a frustrating technical rehearsal to the backstage mayhem during a live performance, culminating in a disastrous final performance. Michael Frayn’s script not only keeps us laughing at the absurdity but also offers a fond look at the quirks and follies of theatre people. Act One: The Technical Rehearsal The commotion commences with a frantic midnight technical rehearsal preceding the opening performance. Amidst missed cues, forgotten lines, and misplaced props (particularly those pesky sardines!), director Lloyd Dallas, portrayed with sarcastic flair by Michael Civitano, navigates the madness from his seat with us in the audience. This act sets the stage for the chaos to come, introducing us to each character's quirks and flaws and showcasing the stressful reality of last-minute preparations where you sometimes must “use opening night as the dress rehearsal.” Act Two: Backstage Mayhem In Act Two the audience is treated to a offstage perspective during a live performance - complete with the familiar backstage blue lighting. Here, the crumbling relationships among the cast take centre stage as romantic rivalries, personal quarrels, and hidden alcohol create a whirlwind of silent chaos. The use of mime and slapstick is brilliant, as the cast engage in noiseless arguments and panicked efforts to salvage the show despite everything going awry backstage. It’s a testament to these actors’ skills that the sheer amount of interaction in this Act is both apparent and hysterical – you seriously need nine pairs of eyes to watch everything going on! Act Three: The Grand Finale The production reaches its peak of absurdity in the final act as the onstage performance disintegrates into utter mayhem with the actors ad-libbing furiously to cover up mistakes. Set malfunctions, mid-show covers, misplaced sardines, and on-stage injuries cause endless trouble, but the persistent performers are determined to see the show through to its end no matter what! A Night of Relatable Comedy If you've ever been involved in theatre, you will find yourself nodding along to the relatable moments and reminiscing about the wonderful mess that is live performance. From the director’s stress-induced meltdown to the stage manager being told to take a break only to be immediately bombarded with more tasks, these scenes strike a chord with those who have experienced the high-pressure environment and often thankless grind of theatre work. Furthermore, the inevitable mishaps and injuries that plague performers during live performances resonate with painful realism - having broken a foot on-stage myself! Plus, I really enjoyed the constant – and I mean literally constant - use of pet names like "love" and "dear" between the cast to maintain their façade of camaraderie, despite the underlying tensions. Spot-On Casting The cast delivers a stellar performance together, while each member shines in their respective roles with a blend of hilarity and sincerity. I must mention them all because there wasn't a single character I disliked! Samantha O’Hare's portrayal of Belinda exudes warmth and vivacity, balancing her dual roles as supportive peacemaker and backstage gossip monger effortlessly. Bob Polowyj embodies the endearing cluelessness of Selsdon, the veteran actor with a penchant for the bottle. His forgetful antics and loveable quirks earn frequent laughter. Artemisia Allan's version of Brooke showcases her comedic speech and physicality. She depicts the perpetually ditzy actress with unwavering commitment to her character, eliciting laughter with every blank expression and whimsical gesture. Michael Civitano's depiction of Lloyd, the stressed director, strikes a perfect balance between exasperation and humour with his attempts to reign in the chaos while juggling his love life. Brent Jeffrey's portrayal of Garry is exceptional. He captures the character's inability to improvise with comic timing and his tendency for jealously with expressive physicality, especially in Act Two, which made him a favourite of mine! Eleni Koutsoukis brings a pitiful sweetness to the role of Poppy, the overworked and overly emotional assistant stage manager. Her portrayal conveys Poppy's desperation and vulnerability well, particularly in her interactions with Lloyd. Kip Jeffree's portrayal of Tim, the overburdened stage manager who is expected to cover roles, fix the set, and run personal errands is both disheartening and hilarious. His depiction of Tim's exhaustion and flustered demeanour resonates with anyone familiar with managing chaotic backstage antics. Natalie Pedler's performance brings the eccentric Dotty to life. Her expressive portrayal captures the character's comedic mishaps with finesse as she struggles with her lines and props - and those darn sardines causing her such trouble in Act 3! James Sheehan embodies the neuroticism of Freddie with authenticity, including the actor’s confusion over the director’s choices, his need to constantly disturb rehearsal in Act One, and his fear of blood stealing the spotlight in Acts Two and Three. Final Thoughts The intimate setting of the Centenary Theatre, accommodating around 80 people, adds to the appeal and immediacy of this performance. The crafted décor of the foyer sets the mood and the inclusion of a fake program for 'Nothing On' is a delightful touch. Audience laughter was frequent and hearty, indicating a crowd well-acquainted with the tribulations of theatre. Moreover, the impeccable blocking by the real director, William McCreery-Rye, involving the eight doors reveals the intricate timing and coordination required for such a demanding spectacle! Despite being over forty years old, ‘Noises Off’ remains a timeless gem of farcical theatre, boasting humour and situations as relevant and relatable as ever. Its enduring appeal lies in its slapstick physical comedy and witty dialogue, similar to an episode of ‘Fawlty Towers.' This fast-paced comedy is a guaranteed crowd-pleaser, promising a night of entertainment for all. So do yourself a favour and catch this cast's performance before it closes on June 9! Tickets Available Here

In a world where young voices are louder and more passionate than ever, ‘Slap. Bang. Kiss.’ is a powerful testament to individual resilience amidst societal challenges. Penned by Dan Giovannoni and presented by Underground Theatre this play dives into the turbulent waters of viral fame, social revolution, and personal transformation. The play unfolds through three distinct tales, each marked by a pivotal event. Immi, a defiant teenager, catapults into the spotlight after slapping a peacekeeper in an occupied city, becoming an emblem of rebellion. Sofia's passionate response to (yet another) tragic school shooting propels her onto the global stage, where she becomes a fierce advocate against the horror of gun violence. Meanwhile, Darby and Daniel's quest to break the world record for the longest kiss inadvertently becomes a powerful statement against the shadows of homophobia lurking in their small-town. Through their struggles, Immi, Sofia, and Darby each face adversity in ways that not only define them but also inspire change within their communities. The cast, comprised of Cullyn Beckton (as Darby), Ruby Shannon (as Sofia), and Hannah Sisson (as Immi), deliver performances that electrify and enthral. What truly sets this production apart from what I have seen recently is the actors' fluidity as they rapidly shift between lead and supporting characters (apparently 38 characters in total) by altering their costumes, mannerisms, and voice, all while maintaining the play's breakneck pace and overlapping dialogue with ease. Sisson's portrayal of Immi is a gripping depiction of life under occupation, immersing the audience in a world of defiance and fear with her commanding vocal presence and wide-eyed intensity. Shannon captures Sofia's story with a blend of vulnerability and determination, providing a poignant critique of the aggravating normalisation of gun violence. Beckton's portrayal of Darby is infused with comedic timing and heartfelt sincerity, adding a delightful touch of levity to the play's heavier themes. Director Joshua Price skilfully takes the audience on a wild ride of emotions and storylines by weaving together dialogue, movement, lighting, and sound to seamlessly transition between locations and tones. The rhythmic pace of the play keeps the audience engaged throughout the fleeting 60-minutes. The stage is adorned with newspapers and three bollard blocks that transform into versatile set pieces. The cast manipulates the blocks and their costumes themselves, keeping the audience informed of the shifting characters and settings without the need for elaborate backdrops. Immi's fortified exterior, Sofia's unwavering resolve, and Darby's quest for love and acceptance serve as a reminder that while the world watches, it is the bold, decisive actions of individuals that can truly drive societal transformation. ‘Slap. Bang. Kiss.’ transcends the boundaries of traditional theatre to become a call-to-action for the younger generation to seize their collective power. It confronts the harsh realities faced by its characters and balances them with moments of triumph, painting a realistic yet hopeful view of our world. Underground Theatre's rendition of this contemporary work left an unforgettable impact on the enthusiastic audiences who were fortunate enough to experience it during its short season. I look forward to seeing what they do next!

By Kate Mulvany and Anne-Louise Sarks Original concept by Anne-Louise Sarks after Euripides Directed by Daniel Evans Queensland Theatre's production of "Medea" breathes new life into Euripides' ancient Greek tragedy by viewing the story through the innocent eyes of Medea’s two young sons, Jasper and Leon. Within the confines of their shared bedroom, the brothers navigate the complexities of childhood with laughter, quarrels, and boundless imagination. While the echoes of their parents' escalating arguments reverberate outside their locked door, the boys remain oblivious to the impending tragedy ahead. Directed by Daniel Evans, this production offers a fresh perspective on the legend as we witness the final 80 minutes of their young lives. A Modern-Day Tragedy: Set in a contemporary bedroom meticulously designed by Chloe Greaves, the staging cleverly captures the boys' sense of isolation. This modern-day Brisbane bedroom feels incredibly authentic, down to the glow-in-the-dark stars, sports posters, abundant toys, and a real tank housing their beloved goldfish. The simplicity of the child's bedroom, usually a place of comfort and safety, starkly contrasts with the palpable tension just below the surface. Additionally, the entire stage is encased in glass, causing the audience to become detached observers, unable to intervene as we witness the boys trapped in their figurative and literal glass coffin. The script by Kate Mulvany and Anne-Louise Sarks combines playful banter with ominous undertones, capturing the purity of childhood against the backdrop of looming adult conflicts. Moments where the boys' games and conversations mirror themes of betrayal and revenge are particularly impactful; as is the tragic irony of the boys' innocent oversights, such as referring to their father's mistress as "dad's friend" and Leon reassuring Jasper that "I'll always be your big brother even when we are old... like 30.” Evans' direction ensures that the story's tragic inevitability is ever-present, yet he still allows the audience to hope for a different conclusion. Performances: The young actors' performances are a testament to their talent and the supportive environment fostered by their families and the creative team. Felix Pearn’s portrayal of Jasper is endearing and hilariously charming, easily weaving moments of comic relief into the characters’ shared journey. His well-timed comedic moments, like attempting to unlock the door using the force like Yoda, sparked consistent laughter from the audience. Orlando Dunn-Mura’s portrayal of Leon balances authority with vulnerability, embodying a commanding yet tender and protective older brother. Their on-stage interactions create a vibrant and authentic portrayal of sibling camaraderie. A particularly tender scene occurs when Leon uplifts Jasper's spirits with a sweet rendition of ‘Octopus's Garden’ on the ukulele, highlighting the purity of their bond amidst the chaos. Medea's entrance at the 30-minute mark dramatically shifts the tone of the play, announcing that the boys will be moving in with their father and his "friend." Helen Cassidy's portrayal of Medea is hauntingly mesmerising as she navigates the emotional complexities of the character while delicately balancing strength and vulnerability. She transitions from a loving and nurturing mother to a woman consumed by despair as she masks her inner turmoil with a façade of composure for her children's sake. Particularly harrowing is her dissociative state as she dresses her boys and recites all the things that she loves about them, leaving me with a lingering sense of unease and gut-wrenching ache. Cassidy's portrayal adds rich complexity to this legendary character, rendering her a mother both pitiable and horrifying in equal measure. Design Elements: Mike Willmett's sound design and Matt Scott’s lighting work together to immerse the audience in the children's experience. From moments of uncomfortable silence to playful interludes, cricket noises, and musical sequences including a haunting rendition of ‘God Only Knows’, the soundscape is always amplifying the unsettling mood. The LED lights lining the glass enclosure allow for subtle or dramatic lighting changes. One particularly striking moment is when the brothers eavesdrop on their parents’ heated argument, capturing the muffled noise through the door with chilling realism. The stage floods with a sinister red light, and a rising drone amplifies the tension, making the audience feel as helpless as the characters while they rage and trash their room. Another unforgettable scene unfolds later when the boys flick off the lights to transform the room into a galaxy full of twinkling stars and dancing ribbons of light. This simple yet profound choice immerses the audience in the brothers’ world of magic and wonder one last time. Along with the incredible soundscape of atmospheric noise and their sweet singing, this scene served as a poignant reminder of the fleeting nature of childhood, leaving a bittersweet pain in my heart afterwards. Impact and Recommendation: This adaptation of "Medea" is a masterful blend of ancient tragedy and modern storytelling, exploring innocence and betrayal through the eyes of those most affected that unfortunately, remains relevant today. It serves as a reminder of the beauty in the simplicity of a child's world, even within dark tales. The combination of stellar performances, innovative set design, and evocative lighting and sound creates an immersive experience that is both heart-warming and heart-breaking. I highly recommend seeing this show. It will only take up 80 minutes of your day, but its impact will stay with you long after. "Medea" is running until Saturday, 8th June, at The Billie Brown Theatre in South Brisbane. Tickets Available Here

Matrix Productions' "Diary of a Madman," currently showing at PIP Theatre, offers a haunting and masterful exploration of the human psyche. Adapted from Nikolai Gogol's 1835 short story by David Holman, with contributions from Neil Armfield and Geoffrey Rush, this production skilfully navigates the delicate balance between comedy and tragedy, creating a theatrical experience that is both harrowing and profoundly human. Directed by Michael Futcher, the play follows Aksentii Poprishchin, just an average Joe working a dead-end job in 19th century Russia, disappointed with life, and venting his frustrations in his diary every night as he isolates himself in his attic bedroom. His journal entries range from criticisms of his superiors to obsessive thoughts about his boss's daughter to a peculiar belief that dogs can talk. He starts with a standard date-based diary format, but at a certain point, even the dates take on an irrational form as his sense of conventional time dissolves. As his fixation on these imaginary canine conversations grows, the boundaries between reality and delusion blur, plunging him into a spiral of hilarious daydreams and heart-breaking schizophrenic episodes. As Poprishchin's alienation from society deepens, his entries become increasingly erratic, culminating in a tragic confinement in an asylum. Performances: Have you ever met someone who can captivate you when narrating a ghost story around a campfire or dishing out juicy gossip over brunch, so much so that you become riveted? Even when speaking nonsense, Rowan Chapman’s performance is like this, timed and delivered with the flair of a stand-up comedy routine. Chapman delivers an extraordinary performance as Poprishchin, capturing both the entertaining absurdity and the lonesome despair of his character. Like watching a masterclass in acting - he applies every aspect of his physicality and vocal range to bring Poprishchin's chaotic mind to life. His interaction with the audience adds a unique layer to this performance, monologuing to us in a way that feels both disarrayed but relatable. Chapman's choice to give a vacant stare each time his thoughts suddenly shift – absolutely brilliant. His presence on stage for the full 90 minutes demands a huge amount of energy, earning him two rounds of applause upon conclusion of the show. Honestly, he provides some of the most expressive acting I’ve seen, as his evolution into the madman is somehow equally unnerving and heart-wrenching. Sarah McIntosh performs several roles, including Tuovi, Poprishchin’s Finnish maid, his fantasy love interest Sophie, and a disturbing asylum captive. McIntosh transitions effortlessly between these characters, showcasing her versatility and heightening the emotional impact of the story with each role. Her portrayal of Tuovi evolves from comedic misunderstandings to a more sombre tone as she becomes increasingly desperate to assist Poprishchin. McIntosh also shared that she diligently studied Finnish language - and English in a Finnish accent - with a Finnish mentor, which she executes exceptionally well. Lastly, Tabea Sitte’s string accompaniment adds a haunting layer to the production, intertwining with the narrative to underscore Poprishchin's fluctuating mental state. The electric violin is incredible; be sure to take the time to glance at Sitte and appreciate the skill. One of my favourite aspects was the interaction between Chapman and Sitte; he acknowledges her presence - and the audience - to make us feel a part of his delusional world. Direction and Design: Director Michael Futcher's vision is evident in the seamless blend of reality and fantasy. The staging effectively mirrors Poprishchin's fractured mind, with Josh McIntosh’s set and costume design creating a bleak yet versatile environment. The dank attic bedroom and dishevelled clothing reflect his aggrieved state from the beginning and becomes increasingly unkempt, incorporating short moments of darkness to add sweat, blood, and whip marks to his body to heighten the concern for the character. Caleb Bartlett’s lighting design further enhances the atmosphere by using stark uplighting and subtle changes to reflect the protagonist’s instability and enclose us in his delusional world. Impact and Audience: The play’s critique of the bureaucratic system remains strikingly relevant today, offering a timeless reflection on individual struggles against societal constraints. Plus, the depiction of mental illness is sensitive and impactful, shedding light on the often-misunderstood aspects of schizophrenia. The audience's response to the play was overwhelmingly positive, taking us from fits of laughter to contemplative silence in the blind of an eye. Rowan Chapman's embodiment of Poprishchin, supported by a talented cast and exceptional direction, prompted two rounds of applause. Then, we all sat there in a palpable sense of awe until the front-of-house staff had to ask us all to exit the theatre. Matrix Productions' "Diary of a Madman" is a triumphant, thought-provoking piece of theatre that captures the essence of Gogol’s original work while infusing it with fresh energy. Running until June 1st, this adaptation is a must-see for those seeking a powerful exploration of the human condition. Don't miss the chance to witness this exceptional performance and grab a front-row seat for maximum interaction and immersion. It's a journey you won't soon forget - and trust me, you'll be talking about it for days to come! Tickets Available Here Photos by Jeremy Veenstra

Can you walk me through your journey in the entertainment industry, from your beginnings to launching your company? Josh: I started out as a live musician, was in a band, and did the Triple J thing, before getting into acting as well. I studied Pop Music at uni, as well pursuing acting credits. After being involved in musicals such as Songs for a New World (Man 1), Hair (Hud), Little Shop of Horrors (Audrey II), and Legally Blonde (Emmett), just to name a few, I began combining my singing and acting skills by writing cabarets for fringe, cabaret, and other festival circuits. I continued to do this for many years, eventually realising I was producing my own work. In October 2022, I launched JDProCo after providing over 30 artists with opportunities in the world of theatre, cabaret, and concerts that aligned with my past projects. That's a fantastic achievement! Building on that, could you share what inspired you to start JDProCo? I'm curious about how you balance the various responsibilities involved in running your own company while fostering the growth of the artists in your creative projects. Josh: When you create something like a company, your role involves wearing many hats, as well as being the face of your work. JDProCo naturally evolved from my desire to create, collaborate, and provide opportunities for my peers and network, all while expressing myself on stage. I produce according to my own tastes, which are influenced by my love for musical theatre, mid-00's jams, singer-songwriters, and festive holiday tunes. My approach to nurturing artists is simple: I ask them what they want to achieve. Working primarily with actors and music theatre artists, I understand that it can be a daunting experience at first, as they are conditioned to follow directions and do what they are told (E.g. “stand on this light, hit this mark by this line, don’t use vibrato in this section”). I trust the artists to make their own choices and then I collaborate with them if they need guidance, feedback, or even just validation that they are doing an excellent job. It is incredibly rewarding to witness them making great choices and unlocking that part of their creativity. Can you tell me about some of the projects you've launched with JDProCo, and how they reflect your vision for the company? Josh: We are well-known for our annual Broadway, So Millennial, and Christmas shows. A labour of love that I launched this year, called SING!, is aimed at spotlighting singer-songwriters, musicians, and singers who have taken a break from the industry and are looking to make a comeback in an intimate setting. By the end of 2024, we will have produced 9 events across these four projects. Starting out as a singer-songwriter myself, this was a small way of giving back and providing a platform within the community that doesn’t require as much pressure to be “industry oriented” but rather just a space for artists to express themselves. It has been interesting to build an audience for this project outside of the theatre community, but I am excited to see how JDProCo can extend its reach with a multi-genre approach. That sounds like a wonderful new project, Josh. I'm interested in the inspiration behind the rebranding of your Broadway events this year. Can you share how the idea came about and the collaboration with PiP Theatre? Josh: The idea of rebranding has been in talks with my nearest and dearest since our last Broadway event in October 2023. The event started in April 2021 as a way for myself and my friends to return to the stage after the negative effects of Covid in 2020. The formula involved artists performing three songs each in a set, like their own mini cabaret. We have hosted six editions of Broadway in the Dock and over time, the show naturally evolved into a more curated experience resembling a traditional production, complete with acts and ensemble numbers. Without hyperbole, I have a deep love for PiP Theatre - they had been knocking on my door to collaborate on something, and when the time came for rebranding, we finally had the meeting. We chatted about what I wanted to achieve for the event, and ultimately decided to co-produce the rebranding, resulting in what is now known as The Broadway Jam. Absolutely, the return of live theatre has been such a gift. So, what's in store at The Broadway Jam? Can you give us a sneak peek into the whole experience? Josh: Attendees can expect high excellence from performers who are either working professionally or rising in their emerging status. The experience has a very “downtown” feel and is curated evenly with both production value and a focus on the heart of the show, which is “piano and voice,” showcasing each artist with their voice as their instrument and storytelling vice. The event offers a Broadway experience spanning different genres from Sondheim to Kander and Ebb, to Lin Manuel Miranda and Jason Robert Brown. You will also hear some songs in a different way. We LOVE arranging well-known Broadway songs to offer a new sound for the audience. Some artists will also showcase their skills playing their own instruments during The Broadway Jam - we are literally creating a jam session and taking our audience along for that ride. Let's talk about the magic behind the scenes. Could you provide more detail on the collaborative process with artists and creatives when curating events like The Broadway Jam? Josh: The process varies for each artist; I am involved as a collaborator and will curate the show based on the artists' choices. Additionally, I seek input and guidance from our accompanist to collaborate on music direction decisions, which makes it all very fulfilling. Our timeline is quite short since many of the artists I work with have multiple other creative commitments going at the same time. So, it is a tight ship that I must get over the finish line each time. Fortunately, the people I work with are focused, professional, and enthusiastic about contributing to the process. Shifting gears a bit, I'd love to hear about some memorable moments from past productions and events hosted by JDProCo. Josh: The last Christmas show was a huge moment for both myself and the company. It featured a 16-piece band and was put together in just five rehearsals. It was truly fulfilling for me, as I am heavily involved in the arrangements alongside my collaborator, Paula Girvan. Seeing everything from my imagination come to life was an absolute thrill. We had our best audiences yet, and the entire band walked away feeling so chuffed with what we achieved. The band has become like a family of exceptional people, and it is an honour to captain that ship every December. As we approach our 5th anniversary of the Christmas show, we plan to make it even bigger this year! It's clear that you have created some truly special experiences for both performers and audiences alike. Looking ahead to the future, what is your vision for the role of JDProCo in the musical theatre scene in Brisbane and what sets it apart within our arts community? Josh: I envision the role of JDProCo in our industry as a platform for music theatre artists to discover new things about themselves and find out the artist they want to be. JDProCo focuses on the artist and creating an environment that hands the power to them. We are creating something that truly does feel like an opportunity, in its many facets, for the creative individual. And each time we want to build our audience (and almost educate them on what a music theatre experience can be like), it is always in a space that isn’t a traditional theatre building. If this experience challenges, inspires, and validates their passion for performing, then I feel we have achieved wondrous success. I'm sure aspiring artists would love to hear your insights and advice for breaking into the industry. What guidance would you offer to those looking to pursue their dreams in musical theatre? Josh: My advice at the moment would be to prioritise creativity and strive for a path that allows you to express yourself unapologetically. The industry is also known as show BUSINESS for a reason, so don’t be afraid to ask tough questions to individuals you perceive as successful about finances, contracts, and protocols. It is crucial to become a knowledgeable artist who can navigate the industry's incredible highs and lows and possessing this knowledge will aid in building your resilience. That is such a good point. I'd love to hear more about what personally drives you and keeps you passionate about your work in the theatre industry. What aspects of your role do you find most fulfilling, and what keeps you motivated to continue creating and inspiring others? Josh: My main motivation, and please discuss this with me if you do not like this approach - but I am very driven by the notion that I simply do not want "this" to end. I am 100% irrevocably in love with being artistic and creative. My purpose and duty are to create work, inspire work, and most of all, be fulfilled by what I do. This drive never leaves me, even when I am exhausted and burnt out at times. I am very privileged to lead a team of individuals who eagerly step forward when the call to "create a project" arises once again. In addition to my personal drive (which is obscenely high), I am also driven by the creatives I have surrounded myself with who share the same passion for this work. It is this consistent collaboration that ultimately drives my fulfilment. All I am chasing is exactly that. It's wonderful to see someone so deeply committed to their craft and driven by the simple desire to keep creating. This not only ensures longevity of your projects but also fosters a sense of purpose that is invaluable in the creative industry, making JDProCo a beacon of inspiration for both artists and audiences alike. Keep chasing that dream, Josh! [The Broadway Jam plays at PiP Theatre June 28 & 29, 2024] Tickets Available Now

Roar Academy's production of Finding Nemo Jr. at Theatre 102 in Redcliffe was a delightful dive into an undersea world of fun! This timeless Pixar story of Marlin, an anxious clownfish, and his adventurous child Nemo, was brought to life by the talented young cast with a blend of humour, emotion, and musical moments. From the opening number, 'Big Blue World,' the strong ensemble vocals set the stage for a captivating performance that had the audience hooked (no pun intended). The sea creature costumes were an adorable addition to the underwater setting, giving us a delightful treat from the moment they “swam” onto the stage. Toby Bailey's portrayal of Marlin was touching, while Daya Sudhi shined as Nemo with her beautiful vocals and stage presence. Her solo, ‘Where’s My Dad,’ showcased her strong musical theatre voice, making her a standout lead at such a young age! Zoe Hitchcock as the forgetful Dory made a splash with her energetic entrance and kept those energy levels high with her bubbly performance. Her rendition of 'Just Keep Swimming' was a vocal challenge that she tackled with impressive gusto. Ava Collett as Gill delivered a stunning vocal performance in 'We Swim Together,’ leaving me wishing I could hear more from her. Tyler Haynes as Nigel, Kirill Yaremchenko as the tourist, and the lively seagulls clearly had the most fun of anyone on stage. Their enthusiasm was infectious and added that extra layer of enjoyment every time they showed up. ‘Fish are Friends’ was jazzy delight, complete with tap-dancing sharks! A little tip to the ensemble - keep your beautiful faces up and engaged! Even if you are finding the choreography challenging or easy, it’s crucial to avoid looking at the ground. Your shining faces are a vital part of the performance’s energy. The Act 2 opener, 'Go With the Flow,’ was a definite highlight. Mia Dacey as Crush embodied the easygoing sea turtle and handled a vocally challenging song excellently. I can’t help but wonder where they found 17 turtle onesies (and where I could get one for myself). That number was a joy to watch and undoubtedly a favourite for many. The heartfelt conclusion of the show left hearts full and eyes misty, creating an atmosphere of shared pride. Overall, Finding Nemo Jr. was a success, featuring charming young performers, imaginative costumes, and a heartwarming story that left smiles on everyone's faces. Congratulations to the cast and crew for crafting such a memorable experience for all involved! I look forward to seeing what they do next!

A Riveting Modern Take on "Twelve Angry Men" Sandgate Theatre Inc. delivers a gripping rendition of "12 Angry Jurors", enveloping the audience in the intense deliberations of a diverse jury as they decide the fate of a teenager accused of murdering his father. Each character, identified only by juror number, grapples with their biases and preconceptions as the tension escalates. The gradual evolution of opinion, spurred by Juror 8's unwavering commitment to justice, is a testament to the importance of standing up for what is right, even in the face of overwhelming opposition. If you, like me, remember studying the original play, "Twelve Angry Men", from high school, you'll notice some changes in this modernised Australian adaptation. First off, there are four men and eight women on the jury this time, and instead of a death sentence, it's life in jail on the line. This alteration provided a new perspective to the narrative, especially with women taking on most of the lead roles. Set in the round, with the jurors’ conference room at its centre, the immersive staging cleverly placed the audience within the heart of the action. Despite the inherent challenges of projecting their voices without microphones in a reverberant space, the cast rose to the occasion by amplifying the intensity of their discussions. Meticulously selected for their roles, the cast delivered wonderful performances that brought the jurors to life with authenticity and conviction. Their ability to convey the nuances of their characters from the subtle movements to the impassioned monologues, ensured that even those jurors with their backs to the audience remained compelling and believable throughout. Meg Kiddle's portrayal of Juror 8, the voice of reason, was particularly compelling. Kiddle's frustration and determination were palpable, even as her back was turned to me. She served admirably as the impartial anchor amidst the turmoil. Jeremy Wellwood, Greg Jones, Nicky Whichelow, and Carmen Heath also left a lasting impression as they navigated complex character emotions with finesse. Wellwood, as Juror 4, delivered a performance marked by restraint and intelligence. His measured demeanour provided a counterbalance to the heightened emotions swirling around him. Jones, in the role of Juror 7, dominated the proceedings with his charismatic presence and obnoxious demeanour of his character. Heath's interpretation of Juror 10 captured the odious character's bigotry and insecurity, serving as a sobering reminder of the impact of unchecked biases on the pursuit of justice. Whichelow's portrayal of Juror 3 was a tour de force of raw emotion and vulnerability as she navigated the character's journey from obstinacy to introspection. Special mention must be made of Catherine Radbourne, who skilfully directed the production and showcased her talent on stage as Juror 12. Her direction imbued the play with a sense of urgency and authenticity, while her performance added moments of lightness to the tense narrative. Radbourne's keen understanding of the material brought out the best in her cast, resulting in a cohesive and compelling performance from all. Overall, "12 Angry Jurors" is a must-see for anyone craving a night of gripping drama. The production captures the essence of a real-life courtroom drama, keeping me on the edge of my seat for most of Act 2! I recommend securing a central seat for the best view of the action and prepare to be thoroughly engaged by this modern take on a classic tale. (Note: The play contains themes of domestic violence and murder, which may be distressing to some audience members.) Purchase Tickets Here

Phoenix Ensemble brings Stephen King's classic tale to life in a haunting and emotionally charged performance of "Carrie - The Musical." Set in 2009 Chamberlain, Maine, the musical explores themes of radicalised religion, power dynamics, and the devastating consequences of bullying. My evening kicked off with their signature cocktail, the delicious 'Bloody Carrie,’ setting the mood for the show. Directed by Joshua Brandon in his directorial debut, "Carrie" unfolds with striking intensity that reverberates throughout the intimate theatre space. Victoria Lancaster's choreography complements his creative vision, drawing the audience into the world of Chamberlain High. The opening number in both Act 1 and Act 2 sets a (misleading) joyful tone with dynamic movements and energy. Under the guidance of Hayley Marsh, the ensemble's vocal talent resonates beautifully throughout the theatre. The tech team created a balanced sound, allowing the band to skilfully complement the cast's strong vocal performances. Harley Roy truly stands out as the MVP of the production, taking on multiple roles of Stage Manager, Set Designer, Set Constructor, and Costume Designer. Roy's multifaceted involvement ensured a cohesive and visually captivating presentation. The set design makes use of every aspect of the theatre, from the detailed gym floor to the bloodied walls and clever props that heighten the tension. At the heart of the production, we have Chelsea Sales giving a brilliant performance in the challenging role of Carrie White. Her portrayal feels authentic and emotionally charged, masterfully capturing Carrie's transformation from a timid outcast to a powerful force. Her crystal-clear vocals and impressive belting abilities shine in solos "Carrie" and "Why Not Me" as she truly personifies the complexity of the character. Sales’ acting is nuanced, with every emotion vividly expressed through her eyes, from fleeting moments of joy to profound fear to intense hatred. Sales brings a compelling vulnerability to Carrie, making her both pitiful and formidable in the eyes of the audience. Carly Quinn's portrayal of Margaret White, Carrie's controlling and fearful mother, is hauntingly authentic. Quinn's outstanding vocals and gripping acting in emotionally charged pieces like "When There's No One" powerfully convey the emotional turmoil of her character, culminating in (SPOILER) a heartbreaking climax as she decides to kill Carrie. Sophie Mason's portrayal of Sue Snell is equally compelling, navigating her character's evolution from harsh bully to a remorseful and selfless individual and eventual (SPOILER) lone survivor of the massacre. Her gentle vocals in the touching "Once You See" really hit home with their emotional depth. Lisa Alsop's portrayal of Ms. Gardner is a perfect balance of toughness and compassion as a guiding mentor for Carrie. Alsop's heartfelt rendition of "Unsuspecting Hearts" showcases her exceptional vocal talents and the character's empathy as she blends beautifully with Sales’ voice. Storm Fraser commands the stage as Chris Hargensen; a complex antagonist with powerful vocal performances, especially in the upbeat "The World According to Chris." Fraser captures the character's dual nature, drawing the audience in with a mix of admiration and disdain, much like the iconic mean girls we all love to hate such as Regina George or Heather Chandler. And I can’t forget Macca Kelly, who plays the devious Billy Nolan, truly embodying the hateful character through excellent stage presence. Kyle Armstrong's portrayal of Tommy Ross shines through his amazing vocal talents, a sentiment echoed by friends who have seen him perform. I had the pleasure of watching Dugald Lowis, who understudies Tommy, and I was touched by their performance of “Dreamer in Disguise.” Lowis does a fantastic job at capturing the kind and sincere essence of the character, which makes his eventual tragic fate even more heart-wrenching. The musical numbers in "Carrie" are undeniably brilliant. "I Remember How Those Boys Could Dance" incorporated contemporary dancers behind a backlit sheet to add a visually stunning layer of artistry. "Do Me a Favor" really showcased the talent and cohesion of the entire cast, and the Act 1 Finale with Carrie's confrontation with her mother was truly electrifying and memorable. The climactic destruction scene is a tour de force of theatrical craftsmanship. It's filled with intense fight choreography, atmospheric lighting, alarming special effects, and plenty of blood to really make the haunting scene come to life. (SPOILER) The emotional depth in the portrayals of Carrie and Margaret’s deaths really leave a profound impression. Overall, Phoenix Ensemble's production of "Carrie" is a must-see for theatre enthusiasts who enjoy a thought-provoking experience. The entire ensemble and crew really kill in every aspect of the production, pun intended.

A heartfelt exploration of adolescent challenges wrapped up in an original musical! I recently had the pleasure of attending the BTG's production of "Mayhem in June," a heartfelt musical written and directed by Nicholas Hargreaves. This original production, featuring a cast of six budding young actors, explores the turbulent world of high school dynamics against the backdrop of the game of chess. The story follows Peter as he navigates his way through Grade 11 at a new school, aiming to climb from chess captain to choir leader. Throughout the school year, we witness the ups and downs of teenage life - from unrequited crushes, friendship conflicts, misinformation, and self-discovery. The simple set design with scattered chess pieces and chess-themed costumes cleverly reflected the musical’s themes of strategy and interpersonal dynamics. One of the highlights of "Mayhem in June" is the incredible original score. As a recent high school graduate himself, Hargreaves has shown impressive talent in crafting memorable tunes with intricate orchestral arrangements. While the vocal performances could have been a bit more polished with extra rehearsal time to refine articulation and ensure confidence in delivery, the cast did an admirable job given their age and experience levels. I also appreciated that the orchestra was placed on a raised platform at the back of the stage, allowing the audience to fully appreciate their skills. Lead actor Harrison Port gave a captivating performance as Peter by truly embodying the character's mix of social anxiety, people-pleasing tendencies, and struggle with decision-making. The number “I Wanna Be Somebody" that appears repeatedly throughout the show perfectly sets the tone for Peter's character development, conveying his introspective nature and his desire to leave a lasting impact in his new surroundings. A few songs really stood out to me, like the clever “Expectations” duet and the catchy “Eight Years Old” tune that even taught me a thing or two about chess! “The Crab”, the chess-competition group number, emerged as a standout with its captivating energy and creative execution. While the lyrical content was brilliant, there were challenges where clarity was compromised and plot points obscured. While the layered vocals in pivotal moments, like "Did You Hear?” added the desired angst to the scene, they sometimes made it hard to follow the storyline – for example, the accident was unclear to me until the actor appeared onstage with a cast on their arm. Rowan Eastgate as Tristan was the standout vocal performer of the show for me. His powerful rendition of "Trick of the Mind" demonstrated Eastgate's impressive vocal tone and developing stage presence. Cody Hargreaves, in the role of Cam, gave a brilliant acting performance in his portrayal of a complex and troubled teenager; his heightened emotions palpable through nuanced acting skills; plus a terrific performance in "Unrequited Amends”. Zara Lassey was equally impressive, showing off her versatility in transitioning between different roles and vocal styles. Her bluesy solo as Cam's mother in “Tough” was a distinctive moment that showcased her upper vocal range and natural stage presence. Anika Jocumsen and Harrison Port really excelled together as Mal and Peter in some beautiful duets. The song "Choices" poignantly portrayed the shared inner struggles that their characters were facing, and their duet in Act 2 “I Wish I Could Tell You” was powerful in exploring the unspoken feelings and complexities of their relationship. Kira's solo, "Complicated," performed by Brooke Garwell is such a well-written piece with so much potential. I really think a studio recording of the soundtrack would truly enhance the appreciation of these songs, although I know that is not always be possible. But I can't help but wish I could listen to them again! “Mayhem in June" is a promising musical debut that really highlights Nicholas Hargreaves' budding talent as both a composer and storyteller. Although there were a few vocal challenges and technical glitches with the projections, the musical offers a relatable story that will definitely connect with high schoolers and musical theatre fans. It's clear that this show is a testament to the creative skills of its young creators and performers. With a bit more polishing, this musical has the potential to really shine. We can't wait to see what future productions come from this talented young team!

If you were looking for a night filled with surprises and outstanding talent, "A Night at the Musicals" delivered beyond expectations. The show, curated by the brilliant Sophora Cliff, took audiences on a journey through lesser-known gems and refreshing renditions of classic musical favourites. I was swept away by songs I had never encountered before, which allowed Sophora and her team to craft a production devoid of many preconceived notions. An ensemble of 18 phenomenally talented locals graced the stage with a thunderous opening number from "Songs For a New World". The vocals, oh the vocals! Each carefully-selected performer was exceptional, but a few left me utterly spellbound... Carly Wilson's rendition of "Screw Loose" from Cry Baby and Cody Arthur’s gender-bent version of “Popular” from Wicked were fantastic comedic choices to kick off the solos. They embodied their unhinged characters brilliantly. And then there was the boy band vibes during "One Knight" from Wonderland; led by the charismatic Sam Caruana and his entourage of singers. Pure entertainment! Kirra Lang, our real-life Cinderella, sang "On the Steps of the Palace" from Into the Woods, which was nothing short of angelic as she tackled a notoriously challenging song with grace and skill. Nathan Kneen's rendition of "Anthem" from Chess left a lasting impression with his masterful classical voice. It's not surprising that some friends told me they were quick to buy tickets as soon as they found out he would be singing this piece. Heidi Enechelmaier's interpretation of "Astonishing" from Little Women was a powerhouse display of passion and talent that uplifted as she embodied the headstrong character of Jo. Belinda Lewis took my breath away with her rendition of "All That Matters Now" from Finding Neverland, a powerful solo that I had the privilege of hearing for the first time that night. The trio of Sam Caruana, Henry Kafoa, and Jake Lyle captured my heart with their charming rendition of "Can’t Take My Eyes Off of You" from Jersey Boys. Their palpable joy and stunning harmonies left me grinning. In the delightfully awkward "Sing but Don't Tell" from Island Song, Sophora Cliff's performance was an absolute riot. She had a live pianist as her muse for the song, which was just the perfect touch. And her duet with Jessica Papst was also a highlight, mixing vulnerability and musical finesse beautifully. I have to mention the uproarious performance of "Can't Hang" from Muriel's Wedding featuring Tiffany Payne, Carly Wilson, Kyla Price, and Kirra Lang. The Aussie accent, the humour, the talent - sheer perfection. I seriously need to see them perform the entire musical now! Plus, Liam O'Byrne's gender-bent version of "Don't Lose Your Head" from Six was a standout, with Liam's impeccable vocals and showmanship stealing the spotlight and his final riff leaving me gobsmacked. Alex Watson's brilliant rendition of "You'll Be Back" from Hamilton was not only technically impeccable but also filled with personality. Alex's interpretation breathed new life into the crazy character, with his deliberate and meticulous approach to the song. Every gesture, every expression, and every vocal nuance was carefully crafted to maximise comedic effect and capture the essence of King George's pompous yet endearing demeanour. Kyla Price's rendition of "Burn" from Hamilton was nothing short of breathtaking. Her performance was so intense and powerful that it felt like we were watching the professional production! The medley from Les Miserables featured hauntingly beautiful harmonies that sent shivers down the spine. The arrangement was particularly striking, transforming a well-known solo “Bring Him Home”, into a captivating quartet that added new depth and emotion to the familiar melodies. Jake Lyle's performance of the final stanza, with its poignant plea of "If I die... Let me die!,” was filled with heart-wrenching emotion and sincerity. What made this show truly exceptional to me was its fresh approach to familiar tunes, adding new harmonies and inventive mashups that kept the audience engaged and surprised, as seen in the Andrew Lloyd Webber trio. Sophora and her team curated a show that struck a perfect balance between solos, small groups, and big ensemble numbers, culminating in a night of pure musical magic. This two-show run, unsurprisingly, sold out in record time. I can only hope they extend the season next time, as this level of talent deserves to be seen by all. This production was a testament to the wealth of talent in our local musical community and left me eagerly awaiting their next spectacular instalment, “A Night at the Jukebox Musicals,” set to grace us with its presence in September 2024.

What sparked your interest in theatre? Nick: My initial exposure to musical theatre was through Pure Imagination Theatre Productions, a children’s theatre company run by the incredible Emily Bernoth. They transformed musicals into something enjoyable that sparked my excitement; which lead me to join drama classes and turn in, my passion for theatre. I have such incredibly fond memories of that group, and even began writing my first musical after promising Emily I wouldn’t leave until we had produced a show that written by me. The show I wrote was called 'The Box'; it was rubbish and I never shared it. Although 'Camp Fear' showed improvement, I never followed through with it. Finally, now 'Mayhem in June' is a project that I am genuinely proud of and beyond excited to finally share! The fact that you started writing your own musicals at such a young age shows a lot of initiative and creativity. 'Mayhem in June' sounds like an interesting project, and I'm curious to know more about it! How do you decide which projects to pursue, such as your acting role in ‘Shakespeare in Love’ or writing musicals like ‘Mayhem in June’? Nick: Whatever project you do is going to be a huge time commitment, so I don’t do anything unless I’m passionate about at least one aspect of it. With 'Shakespeare in Love', I was drawn to working alongside the other artists involved and the prospect of portraying Shakespeare; which was highly appealing to a Shakespeare nerd like me. For 'Mayhem in June', it has been all about the message. The show is about the toxic effect that conformity can have on young people—an issue close to my heart. Without this meaningful theme, it would have been challenging to justify the extensive time and effort I have invested in this production. Your dedication-based on the artists involved or the important themes—speaks volumes about your commitment. How do you navigate the creative process when balancing acting and writing? Nick: There's always a moment in writing or acting when your understanding of a character finally clicks, and you realise who they are. The challenge, however, is that understanding a character doesn't automatically translate into how you portray them, because characters do not exist in the abstract. They evolve with each scene, and in 'Mayhem in June', some characters appear within re-enactments narrated by biased storytellers, adding another layer of complexity. So, when considering all these factors, the most important thing is to assess how each scene contributes to the overall show. For instance, you might grapple with a character's condescending nature, which they conceal. But if the scene sets up a song about their frustration with condescension, you prioritise conveying that theme. Building on this, could you share some of the influences or inspirations behind 'Mayhem in June'? Are there specific themes or personal experiences that have shaped the story? Nick: 'Mayhem in June' is the culmination of experiences shared by myself and many people around me over the years. At its core, it serves as a case study of the toxic customs ingrained in high school culture. During my time in high school-as many young people will probably relate-I discovered that 'truth' often takes a back seat to collective beliefs and consensus. It can be confronting when you feel pressured to go along with stories that don't align with your beliefs. Through this show, I aim to illustrate the liberating experience of breaking free from these societal pressures and letting those cares go. I'm curious about your approach to translating these themes into songs. How do you draw inspiration and translate your ideas into the musical elements of your production? Nick: In my experience, songs often begin with either a lyric or a piano motif. Throughout writing 'Mayhem in June', I initially started with piano ideas, but recently, I've shifted towards beginning with lyrics. If you're unsure where to start when writing a song, I recommend starting with lyrics. Words provide a natural rhythm with stressed and unstressed syllables, which can then be transformed into a melody. What advice would you give to those looking to pursue creative projects like you have done or embark on their own theatrical endeavours? How can they navigate the challenges and opportunities you've encountered in your journey? Nick: I wouldn't claim that I've fully broken into the industry yet, but my best advice for anyone is to simply start, no matter the perceived quality or level. Too often, aspiring writers hesitate to begin because they think they're not yet good enough yet. The thing is, you can study, network, and plan all you want, but the best way to improve is by actively engaging in the craft. If you're interested in acting, audition for numerous shows and volunteer your time. If you're a writer, consider sharing your work with friends and family for feedback. Now, the biggest problem here is is the substantial time commitment required, and there’s no real solution for that. Currently, I'm juggling 12 to 14-hour days between pre-service teaching and preparing for 'Mayhem in June', which is a good example of poor time management that I would not recommend. Composing music, in particular, can be a time-consuming process; crafting just eight bars of music can sometimes take hours. Nevertheless, if you love what you’re doing, you'll find ways to integrate it into your life, even as a hobby. So keeping that in mind, set yourself (achievable) deadlines: “I will have Act 1 complete by May 1st”. I never actually reach those deadlines, but they can serve as a motivating force to get you started. And I get close! Your insights into starting creative projects are incredibly valuable, especially as someone who understands the demands of teaching firsthand. What do you enjoy most about working in the theatre industry and what keeps you motivated to continue creating and performing? Nick: I don’t believe live performance is a medium that will ever fade away. Especially during the pandemic, we realised that audiences need that in-person connection, and that is something truly special. When you're in the audience and witness something special happening onstage, you're part of that moment. My main motivator to continue making theatre is to create those moments, whether I'm on stage or behind the scenes. Looking forward, what aspirations or goals do you have? Are there specific projects or collaborations that you hope to pursue in the future? Nick: I believe I have improved a lot at writing musicals since I started, and I'm committed to further improvement in that regard. I would also love to collaborate with some other artists, as it pushes me out of my comfort zone and fosters new creative perspectives. As for future projects, during Easter weekend, I was fortunate enough to have some theatre friends willing to read through the first draft of my next show, 'Flight!', which explores the stories of notable figures from aviation history through a musical anthology. So keep an eye out for updates on this over the next 12 months! I want to extend my gratitude to Stage Buzz for this opportunity — thank you so much for doing this interview, it's really greatly appreciated! Catch the world premiere of 'Mayhem in June' on May 3-4 at the Crete Street Theatre. Secure your tickets now at https://www.trybooking.com/CPSES